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LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Svetlin Yosifov
Svetlin Yosifov
Svetlin Yosifov

Svetlin Yosifov

Country: Bulgary

I was born in Bulgaria, and I had the privilege of living in this beautiful country all my life. My employment is in a private sports club, focused on extreme sports, which involves a lot of travelling and keeps my life dynamic and interesting. Apart from this, I love travelling abroad and do this once a year for a period of two months. I always associate these trips with diving in the unknown, meeting new people and experiencing something new. My adventurous spirit is my main drive, the inner flame, that keeps me going!

Not a professional freelance photographer. I define myself as a travel-documentary-art photographer. For almost 20 years now photography has been part of my life. My passion is catching street portraits and trying to figure out my object's character.Portrait photography is the most compelling genre for me. The impact of a single photo, comes from the emotion it reflects.My Point of interest - traditions in primal and natural places like India, Ethiopia, Kenya, Indonesia, Vietnam, Laos, Cambodia, Cuba and more. I consider good photography to be much more than a snapshot or a memory, it is something that tells a story, strong enough to influence the world we live in and raise more awareness. Throughout the years my interviews and photographs have been published in many magazines and websites.

About Mursi People
Mursi People is a series of photos that were taken during my visits to Ethiopia and are part of the albums "Ethiopian tribes expedition 2018" and the "Second Ethiopian tribes expedition 2019"

The African tribe of Mursi people is isolated in Omo valley - South Ethiopia near the border with Sudan. They are one of the most fascinating tribes in Africa with their lives being a combination of brutal reality and amazing beauty. What was really appealing to me, as a photographer, was to capture and recreate the perplexing nature of their culture and way of life. Suffering from extreme drought in the past few years has made their life cruel and sometimes dangerous, but has not left a single mark on their traditions. Living among them gave the sense of extreme authenticity and in the same time felt like an illusion. Their faces filled my insatiable passion for capturing pure, untouched souls of a culture on the brink of extinction."

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Domenico Iannantuono
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Domenico Iannantuono is an Italian photographer based in Puglia. A whole series of interests such as art, music, literature and travel converge in his photography. He is particularly sensitive to issues related to the world of work, human rights and the environment. He fascinated by religious anthropology and socio-cultural changes. He makes reportage the most important point of his work.
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Agata Vera Schiller
Agata Vera Schiller
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Agata Vera Schiller was born in 1980 in Inowroclaw, Poland. Grew up in the countryside surrounded by loving family and beautiful nature. She has graduated at the Faculty of Journalism in Poznan in 2003. Lived for several months in Scotland, spending time drawing and taking pictures of landscapes with her first camera Zenit. In 2006, she has made Masters at the Academy of Fine Arts in Poznan, drawing workshop. Moved to Warsaw and began postgraduate studies at the Department of Interior Architecture at the Academy of Fine Arts in Krakow, which she graduated in 2009. Worked for several years as an interior and furniture designer. In 2010 she moved to Beijing for 3 years, working, living and taking lifestyle pictures. In Beijing began her journey in darkroom focused on discovery old techniques of classical photography such as wet plate. Beijing is also a place, where was held her first solo exhibition „Sol oriens” in 2011 at the Polish Embassy in Beijing, and then at the Chaoyang Culture Center in Beijing. She took part in several collective photo exhibitions in Poland. Her photography is not only a lifestyle photography looking for a beauty in simplicity of Scandinavian interior style and magic of everyday life. But the closest to her heart are nostalgic portraits of women, found somewhere between the worlds, living in a dreams. Agata’s fine art photography is characterized by tension between sensual experience and intellectual construction. Agata currently lives and works in Warsaw as a freelance photographer.
Keliy Anderson-Staley
Keliy Anderson-Staley
United States
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Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City and currently lives and teaches photography at the University of Houston in Texas. She earned a BA from Hampshire College in Massachusetts and an MFA in photography from Hunter College in New York. Anderson-Staley’s tintype portrait work was awarded a New York Foundation for the Arts Fellowship and a Puffin Grant. She participated in the Bronx Museum AIM residency program in 2007, the Light Work residency and fellowship in 2010, and the Bakery Photo Collective in Westbrook Maine in 2012. She received a grant in Summer 2011 to prepare a solo exhibition of her series of tintype portraits [hyphen] Americans at Light Work in Syracuse, NY. Her color series about back-to-the-landers in Maine, Off the Grid, was one of five runners-up for the Aperture Portfolio Prize (2009). Off the Grid received the grand prize at the Joyce Elaine Grant exhibition in Denton, TX in 2009 and the Arthur Griffin Award from the Griffin Museum of Photography in 2010. The project was also a finalist for the Duke Center for Documentary Studies/Honickman First Book Prize in 2008. She also recently received funding for her project, Imagined Family Heirlooms via Kickstarter, a crowd-funding website in 2011. Her photographs are in the permanent collections of the Library of Congress, Akron Art Museum, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts, Houston. She was the recipient of a New York Foundation for the Arts Fellowship, a Puffin Grant, a fellowship from the Howard Foundation and the Carol Crow Fellowship from the Houston Center for Photography. Her work published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, Portland Museum of Art, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of galleries around the country. Anderson-Staley has been making wet plate collodion tintypes and ambrotypes for ten years. Her fine art and editorial work has appeared in a number of magazines, including Photo District News, New York Magazine, Art and Auction, Hemispheres Magazine, Camerawork, Contact Sheet, Conde Nast Traveler and Esquire Russia. Online, her work has been featured on Flak Photo, Conscientious, Fraction Magazine, PetaPixel, Ahorn Magazine and Daylight Magazine. Her series of tintype portraits was published in 2014 under the title On A Wet Bough by Waltz Books.Source: Catherine Edelman Gallery
Annette LeMay Burke
Annette LeMay Burke
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Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology. Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass. Fauxliage - Disguised Cell Phone Towers of the American West Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained. I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past. More about Fauxliage More about Memory Building
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Tommi Viitala
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Walker Evans
Walker Evans
United States
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Walker Evans was an American photographer best known for documenting the effects of the Great Depression for the Farm Security Administration (FSA). The large-format, 8x10-inch camera was used extensively by Evans during the FSA period. As a photographer, he aspired to create images that are "literate, authoritative, transcendent". Many of his works are in museum permanent collections, and he has had retrospectives at places like the Metropolitan Museum of Art or George Eastman House. Walker Evans was born into a wealthy family in St. Louis, Missouri, to Jessie (née Crane) and Walker. His father worked as an ad executive. He grew up in Toledo, Chicago, and New York City. In 1922, he graduated from Phillips Academy in Andover, Massachusetts. He attended Williams College for a year, studying French literature and spending most of his time in the library, before dropping out. In 1926, he returned to the United States to join the edgy literary and art crowd in New York City after spending a year in Paris. Among his friends were John Cheever, Hart Crane, and Lincoln Kirstein. From 1927 to 1929, he worked as a stockbroker's clerk on Wall Street. Evans began photographing in 1928, while living in Ossining, New York. In 1930, he published three photographs (Brooklyn Bridge) in Hart Crane's poetry collection The Bridge. Dock-worker, Havana, Cuba, 1932© Walker Evans Archive, The Metropolitan Museum of Art After spending a year in Paris in 1926, Walker Evans returned to the United States to join the edgy literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends. He was a clerk for a stockbroker firm in Wall street from 1927 to 1929. Evans took up photography in 1928 around the time he was living in Ossining, New York. In 1930, he published three photographs (Brooklyn Bridge) in the poetry book The Bridge by Hart Crane. Lincoln Kirstein sponsored a photo series of Victorian houses in the Boston area in 1931. In 1933, he photographed the revolt against dictator Gerardo Machado in Cuba for the publisher of Carleton Beals' then-upcoming book, The Crime of Cuba. Evans briefly met Ernest Hemingway in Cuba.  With the camera, it’s all or nothing. You either get what you’re after at once, or what you do has to be worthless. -- Walker Evans Evans began a two-month photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania in 1935. From October to December, he continued to photograph for the RA and, later, the Farm Security Administration (FSA), primarily in the South. While still working for the FSA, he and writerJames Agee were sent on assignment to Hale County, Alabama, by Fortune magazine for a story that the magazine later decided not to run. Allie Mae Burroughs, 1935 or 1936© Walker Evans Archive, The Metropolitan Museum of Art Let Us Now Praise Famous Men, a groundbreaking book published in 1941, featured Evans' photographs and Agee's text detailing the duo's stay with three white tenant families in southern Alabama during the Great Depression. Its detailed account of three farming families paints a heartbreaking picture of rural poverty. In her 1980 book Diana & Nikon: Essays on the Aesthetic of Photography, critic Janet Malcolm noted a similarity to the Beals' book, pointing out the contradiction between Agee's prose and the quiet, magisterial beauty of Evans' photographs of sharecroppers. The three families, led by Bud Fields, Floyd Burroughs, and Frank Tingle, lived in the Hale County town of Akron, Alabama, and the landowners told them that Evans and Agee were "Soviet agents," though Allie Mae Burroughs, Floyd's wife, later recalled her dismissing that information. Evans' photographs of the families immortalized their misery and poverty during the Great Depression. For its 75th anniversary issue, Fortune returned to Hale County and the descendants of the three families in September 2005. When Evans and Agee visited the Burroughs family, Charles Burroughs, who was four years old at the time, was "still angry" at them for not even sending the family a copy of the book; Floyd Burroughs' son was also reportedly angry because the family was "cast in a light that they couldn't do any better, that they were doomed, ignorant." The secret of photography is, the camera takes on the character and personality of the handler. -- Walker Evans Walker Evans remained with the FSA until 1938. An exhibition, Walker Evans: American Photographs was on display at Museum of Modern Art in New York that year. This was the museum's first exhibition devoted solely to the work of a single photographer. The catalogue also included an essay by Lincoln Kirstein, whom Evans had met in his early days in New York. Evans took his first photographs in the New York subway in 1938, with a camera hidden in his coat. Many are Called was a book that collected these stories in 1966. Evans collaborated with and mentored Helen Levitt in 1938 and 1939. Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom creating prints from his own negatives. He only loosely supervised the printing of most of his photographs, sometimes only attaching handwritten notes to negatives with printing instructions. Evans was an avid reader and writer who joined Time Magazine's staff in 1945. He then worked as an editor at Fortune magazine until 1965. That same year, he joined the faculty of the Yale University School of Art as a photography professor. Evans completed a black and white portfolio of Brown Brothers Harriman's offices and partners for publication in Partners in Banking, which was published in 1968 to commemorate the private bank's 150th anniversary. He also shot a long series with the then-new Polaroid SX-70 camera in 1973 and 1974, after age and poor health made it difficult for him to work with elaborate equipment. In 1971, the Museum of Modern Art held another exhibition of his work, simply titled Walker Evans. Walker Evans died in 1975 at his home in Lyme, Connecticut. The Estate of Walker Evans donated its holdings to New York City's The Metropolitan Museum of Art in 1994. The Metropolitan Museum of Art is the sole owner of all Walker Evans works of art in all media. The only exception is a group of about 1,000 negatives in the Library of Congress collection that were created for the Resettlement Administration (RA) / Farm Security Administration (FSA). Evans's RA / FSA works are free to use. Evans was inducted into the St. Louis Walk of Fame in 2000. Images: © Walker Evans Archive, The Metropolitan Museum of Art
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